The Oxford Handbook of the British Musical provides a comprehensive academic survey of British musical theatre offering both a historical account of the musical's development from 1728 and a range of in-depth critical analyses of the unique forms and features of British musicals, which explore the aesthetic values and sociocultural meanings of a tradition that initially gave rise to the American musical and later challenged its modern pre-eminence. After a consideration of how John Gay's The Beggar's Opera (1728) created a prototype for eighteenth-century ballad opera, the book focuses on the use of song in early nineteenth century theatre, followed by a sociocultural analysis of the comic operas of Gilbert and Sullivan; it then examines Edwardian and interwar musical comedies and revues as well as the impact of Rodgers and Hammerstein on the West End, before analysing the new forms of the postwar British musical from The Boy Friend (1953) to Oliver! (1960). One section of the book examines the contributions of key twentieth century figures including Noel Coward, Ivor Novello, Tim Rice, Andrew Lloyd Webber, director Joan Littlewood and producer Cameron Macintosh, while a number of essays discuss both mainstream and alternative musicals of the 1960s and 1970s and the influence of the pop industry on the creation of concept recordings such as Jesus Christ Superstar (1970) and Les Miserables (1980). There is a consideration of "jukebox" musicals such as Mamma Mia! (1999), while essays on overtly political shows such as Billy Elliot (2005) are complemented by those on experimental musicals like Jerry Springer: the Opera (2003) and London Road (2011) and on the burgeoning of Black and Asian British musicals in both the West End and subsidized venues. The Oxford Handbook of the British Musical demonstrates not only the unique qualities of British musical theatre but also the vitality and variety of British musicals today.

Singin' in the Rain, The Sound of Music, Camelot--love them or love to hate them, movie musicals have been a major part of all our lives. They're so glitzy and catchy that it seems impossible that they could have ever gone any other way. But the ease in which they unfold on the screen is deceptive. Dorothy's dream of finding a land "Somewhere Over the Rainbow" was nearly cut, and even a film as great as The Band Wagon was, at the time, a major flop.
In Dangerous Rhythm: Why Movie Musicals Matter, award winning historian Richard Barrios explores movie musicals from those first hits, The Jazz Singer and Broadway Melody, to present-day Oscar winners Chicago and Les Miserables. History, film analysis, and a touch of backstage gossip combine to make Dangerous Rhythm a compelling look at musicals and the powerful, complex bond they forge with their audiences. Going behind the scenes, Barrios uncovers the rocky relationship between Broadway and Hollywood, the unpublicized off-camera struggles of directors, stars, and producers, and all the various ways by which some films became our most indelible cultural touchstones -- and others ended up as train wrecks.
Not content to leave any format untouched, Barrios examines animated musicals and popular music with insight and enthusiasm. Cartoons have been intimately connected with musicals since Steamboat Willie. Disney's short Silly Symphonies grew into the instant classic Snow White, which paved the way for that modern masterpiece, South Park: Bigger, Longer, & Uncut. Without movie musicals, Barrios argues, MTV would have never existed. On the flip side, without MTV we might have been spared Evita.
Informed, energetic, and humorous, Dangerous Rhythm is both an impressive piece of scholarship and a joy to read."

When the show was first produced in 1960, at a time when transatlantic musical theatre was dominated by American productions, Oliver already stood out for its overt Englishness. But in writing Oliver , librettist and composer Lionel Bart had to reconcile the Englishness of his Dickensian source with the American qualities of the integrated book musical. To do so, he turned to the musical traditions that had defined his upbringing: English music hall, Cockney street singing, and East End Yiddish theatre. This book reconstructs the complicated biography of Bart's play, from its early inception as a pop musical inspired by a marketable image, through its evolution into a sincere Dickensian adaptation that would push English musical theatre to new dramatic heights. The book also addresses Oliver 's phenomenal reception in its homeland, where audiences responded to the musical's Englishness with a nationalistic fervor. The musical, which has more than fulfilled its promise as one of the most popular English musicals of all time, remains one of the country's most significant shows.
Author Marc Napolitano shows how Oliver 's popularity has ultimately exerted a significant influence on two separate cultural trends. Firstly, Bart's adaptation forever impacted the culture text of Dickens's Oliver Twist; to this day, the general perception of the story and the innumerable allusions to the novel in popular media are colored heavily by the sights, scenes, sounds, and songs from the musical, and virtually every major adaptation of from the 1970s on has responded to Bart's work in some way. Secondly, Oliver helped to move the English musical forward by establishing a post-war English musical tradition that would eventually pave the way for the global dominance of the West End musical in the 1980s. As such, Napolitano's book promises to be an important book for students and scholars in musical theatre studies as well as to general readers interested in the megamusical.

In 1970, renowned writer-composer-lyricist Leslie Bricusse adapted the classic Charles Dickens tale, A Christmas Carol, into the hit screen musical "Scrooge!". Now available as a charming stage musical, Scrooge! has enjoyed a hugely successful tour of England and a season at London's Dominion Theatre starring the late Anthony Newly. Included are six new songs not performed in the film. Now this sure-fire audience pleaser is available in two versions: as a full-length musical and in a 55-minute adaptation that is ideal for small theatre groups and schools, where it can be performed as a short play or as part of a seasonal concert.Large flexible cast

(Applause Books). In this third volume of the distinguished The Great Songwriters series, musicologist Stephen Citron takes on two leading contributors to the lyric stage, Stephen Sondheim and Andrew Lloyd-Webber. By exploring the works of these two giants of musical theater and those of their contemporaries, Citron also simultaneously guides readers along the winding path of musical theater. Beginning with Sondheim's lyrics-only works West Side Story, Gypsy, and Do I Hear A Waltz ? through his scores for A Little Night Music, Sweeney Todd, Merrily We Roll Along, Sunday in the Park, and Into the Woods, among other classic musicals, Citron presents major milestones of musical theater, exploring the influence of the artist's youthful training and private life upon his creative output. Lloyd-Webber's musical contributions from his early works The Likes of Us and Joseph to his smash hits Jesus Christ Superstar, Evita, Cats, and The Phantom of the Opera, among others are also thoroughly analyzed. As in Citron's previous critically acclaimed books in this series, the artists'works are clarified and put into context with their contemporaries. Complete with a quadruple chronology that reveal Sondheim's and Lloyd-Webber's lives within the scope of world events, copious quotations from their works, and many never-before-published illustrations, Sondheim and Lloyd-Webber is a must-read for anyone interested in musical theater.

The first in-depth biography of the celebrated composer/lyricist who created Hello, Dolly!, Mame, and La Cage aux Folles This revealing and comprehensive book tells the full story of Jerry Herman's life and career, from his early work in cabaret to his recent compositions for stage, screen, and television. Stephen Citron draws on extensive open-ended interviews with Jerry Herman as well as with scores of his theatrical colleagues, collaborators, and close friends. The resulting book-which sheds new light on each of Herman's musicals and their scores-abounds in fascinating anecdotes and behind-the-scenes details about the world of musical theater. Readers will find a sharply drawn portrait of Herman's private life and his creative talents. Citron's insights into Herman's music and lyrics, including voluminous examples from each of his musicals, are as instructive as they are edifying and entertaining.

(Applause Libretto Library). Music by Richard Rodgers Lyrics by Oscar Hammerstein II New book by Douglas Carter Beane Original book by Oscar Hammerstein II In March 2013, a new Rodgers and Hammerstein musical opened on Broadway new to Broadway, but based on a TV musical first written nearly 60 years before, and beloved by audiences all over the world. It was Rodgers + Hammerstein's Cinderella, which very quickly became the belle of the ball of the Broadway season, winning cheers for its fresh take on a timeless classic. Douglas Carter Beane created a new, Tony-nominated book that was hailed for complementing the inspirational themes of Rodgers and Hammerstein with a 21st-century sensibility, giving the musical new characters, surprising plot twists, and revelatory moments that harkened back to the Charles Perrault version of the fairy tale. The score was cheered as well: the familiar songs from the television versions "In My Own Little Corner," "Impossible," "A Lovely Night," "Do I Love You Because You're Beautiful," and so on along with undiscovered gems from the "trunk." Rodgers + Hammerstein's Cinderella was hailed by the Associated Press as a "charming, witty and relevant take on the classic story" and cheered by New York magazine as a "wised-up, wit-spackled CINDERELLA... As solidly entertaining as they come "

Heralded by Tony Bennett as "the Madonna of the 1950s," Rosemary Clooney first came to national prominence when, guided by record producer Mitch Miller, she topped the Hit Parade with songs such as "Come On-a My House" and "Half As Much". Today, the name "Clooney" is synonymous with superstardom, with George Clooney, her nephew, fittingly regarded as one of Hollywood's most notable aristocrats. Few realize, however, that it was originally Rosemary's hit records that brought the surname to achieve worldwide fame and which ultimately landed her a starring role in the immortal "White Christmas", alongside Bing Crosby, Danny Kaye and Vera Ellen. By the time the Sixties arrived however, personal turmoil, fueled by an addiction to prescription medication, almost destroyed her life and her career. Rosemary endured a long period of mental therapy before she was able to resume her singing career in the early 1970s. Few expected her to be anything more than a nostalgia baroness. Rosemary had other ideas. Stimulated by a series of concerts alongside her friend and mentor, Bing Crosby, Rosemary found a new medium in the midst of America's finest jazz musicians, building a second career and with it, a reputation one of - some would say, the - finest interpreter of the Great American Songbook. Late Life Jazz is the story of the rise, fall and rise again of Clooney the First, Aunt Rose, a singer par excellence.

(Applause Books). No American composer has been more widely celebrated, nor so consistently misunderstood as Richard Rodgers. Although he was one of America's most brilliant and prolific composers, whose credits include more than 900 published songs, 40 Broadway musicals and numerous films, Rodgers is widely believed to be the almost stolid opposite of who he really was. Meryle Secrest shows us for the first time his complex nature and the inspiration for his art. Looking intensely at Rodger's unparalleled career, Secrest follows his close and fruitful working relationship with Lorenz Hart, a collaboration that resulted in more than thirty musicals but was ultimately undone by Hart's alcoholism. Moving on to Rodger's second collaborator, Secrest records the triumphs with the gifted and more stable Oscar Hammerstein, including Carousel, South Pacific and The King and I, along with many more. Rodgers' personal life is explored, as well. Secrest writes about the composer's childhood, and how, from an early age, he used music to escape. And she explores Rodgers' own battle with alcohol, as well as the deep tensions in his 49-year marriage to Dorothy Feiner. Somewhere for Me is both a vivid portrait of American musical theatre, and an illuminating examination of one of its greatest artists.

(Applause Libretto Library). The libretto to the Tony winning musical featuring a book by Larry Gelbart, music by Cy Coleman, and lyrics by David Zippel. The book also includes an introduction by Larry Gelbart, illustrations by Al Hirschfeld, production photographs, and original costume designs.

The greatest partnership in the history of the musical, captured in print, wonderfully illustrated. For this new edition, the book has been completely rewritten and substantially expanded to include material on Rodgers' early career with Lorenz Hart as well as his later work, and also features recollections from such theatrical titans as Sheldon Harnick, Martin Charnin, Stephen Sondheim and Arthur Laurents. Also, a completely new appendix reveals the details of the continuing worldwide phenomenon of Rodgers and Hammerstein's work up to and including the 2002 centennial year for Rodgers.

Rida Johnson Young (ca. 1869-1926) was one of the most prolific female playwrights of her time, as well as a lyricist and librettist in the musical theater. She wrote more than thirty full-length plays, operettas, and musical comedies, 500 songs, and four novels, including Naughty Marietta, Lady Luxury, The Red Petticoat, and When Love is Young . Despite her extensive output, no significant study of her work has been produced. This book looks at her musical theater works with in-depth analyses of her librettos and lyrics, as well as her working relationships with other writers, performers, and producers, particularly Lee and J. J. Shubert. Using archival materials such as original typescripts, correspondence, and reviews, the book contextualizes her work in the early twentieth century professional theater and provides a window into the standard practices of writing and production of the era.

There isn't a jollier show anywhere than this musical version of The Pickwick Papers. It exactly catches the cheerful and good-hearted spirit of the gentleman with the bald head and round glasses who is its hero. the well-loved story, the tuneful music and witty lyrics provide a recipe that can't fail to delight audiences. The famous "If I Ruled the World" is just one of a host of strong numbers, and there is plenty of work for chorus and dancers.6 women, 13 men

This critical introduction to British musical theatre since 1950 is the first book to discuss its post-war developments from the perspective of British - as opposed to American - popular culture. The genre is situated within the historical context of post-war British society in order to explore the range of forms through which significant sociocultural moments are represented. Introductory chapters analyse the way British musicals have responded to social change, the forms of popular theatre and music from which they have developed and their originality in elaborating new narrative strategies since the seventies. A key feature of the book is its close readings of twelve key works, from Salad Days (1954) and Oliver! (1960) to global smash hits such as Les Miserables (1985) and The Phantom of the Opera (1986) and beyond, including the latest critical and box-office success Matilda (2011). Also analysed are British favourites (Blood Brothers, 1983), cult shows (The Rocky Horror Show, 1975) and musicals with a pre-existing fan-base, such as Mamma Mia! (1999).